DOCSLIB.ORG

E316N World Literature

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
E316N World Literature E316N l World Literature Instructor: Kornhaber, Da. Areas: Humanities Unique #: 33355-33410 Flags: Global Cultures Semester: Fall 2019 Restrictions: n/a Cross-lists: CL315 Computer Instruction: No Time and Location: MWF 1-2PM WCH 1.120 Prerequisites: One oF the Following: E 303C (or 603A), RHE 306, 306Q, or T C 303C (or 603A) Description: This course presents a survey of world literature through the lens of dramatic literature, examining classic works oF drama From around the globe. Our survey will begin with the classical theatre oF Greece, Rome, India, and China and will continue through the religious dramas oF the European middle ages, the plays oF Feudal Japan, early modern drama From England and Spain, and eighteenth-century neoclassical tragedies From France and Germany; we will continue our studies with an examination oF the global spread oF melodrama in the nineteenth century, the rise oF modern drama in Europe and Russia near the turn oF the century, and the explosion oF theatrical experiments worldwide across the twentieth century, concluding with a selection oF modern and contemporary plays From Europe, Africa, the Middle East, East Asia, and the Caribbean as well as the United States. Throughout, we will examine the shiFting characteristics oF dramatic literature across time periods and cultures and will pay ongoing attention to the complex relationship between dramatic literature and theatrical performance. We will also consider the ways in which the study oF drama touches on wider issues oF history, politics, and philosophy, even raising questions as to the nature oF literature itself. Students can expect to receive a grounding in the history oF world drama, training in the core techniques oF close reading and literary analysis, and an appreciation for literary and performance cultures worldwide. All texts will be read in English. Texts: Editors Title PublisHer ©/ Ed. J Ellen Gainor, Stanton Norton Anthology of Drama (Vols WW Norton & Company 2018 / 3rd Garner, & Martin 1 & 2) ed. Puchner Requirements & Grading: The course includes Five requirements: 1. Three in-class mini-exams: 45% (15% each) 2. Final exam: 35% 3. Section attendance, participation, short assignments: 20% 1 ScHedule: Week Day Date Lecture Topic Notes 1 W 8/28 Introduction F 8/30 What is theatre? What is drama? 2 M 9/2 --- Labor Day Holiday W 9/4 Intro to Greek tragedy F 9/6 Aeschylus, Agamemnon (Greece) 3 M 9/9 Sophocles, Oedipus Tyrannos (Greece) W 9/11 Sophocles, Oedipus Tyrannos (Greece) F 9/13 Production Day 4 M 9/16 Euripides, Medea (Greece) W 9/18 Seneca, Thyestes (Rome) Available on Canvas F 9/20 Kalidasa, Shakuntala (India) Available on Canvas 5 M 9/23 Hanqing, Snow in Midsummer (China) W 9/25 Zeami, Atsumori (Japan) F 9/27 --- First In-Class Mini-Exam 6 M 10/30 Shakespeare, Hamlet (England) W 10/2 Shakespeare, Hamlet (England) F 10/4 Shakespeare, Hamlet (England) 7 M 10/7 Calderon de la Barca, Life is a Dream (Spain) W 10/9 Moliere, Tartuffe (France) F 10/11 Aphra Behn, The Rover (England) 8 M 10/14 Racine, Phedre (France) W 10/16 Goethe, Faust (Part 1) (Germany) F 10/18 Production Day 9 M 10/21 De la Cruz, The Divine Narcissus (Mexico) W 10/23 Daly, Under the Gaslight (USA) Available on Canvas F 10/25 --- Second In-Class Mini-Exam 10 M 10/28 Ibsen, A Doll’s House (Norway) W 10/30 Ibsen, A Doll’s House (Norway) F 11/1 Chekhov, The Cherry Orchard (Russia) 11 M 11/4 Chekhov, The Cherry Orchard (Russia) W 11/6 Brecht, Mother Courage and Her Available on Canvas Children (Germany) F 11/8 Al-Hakim, Song of Death (Egypt) 12 M 11/11 Beckett, Waiting for Godot (Ireland/France) 2 Week Day Date Lecture Topic Notes W 11/13 Abe, The Man Who Turned into a Available on Canvas Stick (Japan) F 11/15 Dragun, The Story of a Man Who Available on Canvas turned into a Dog (Argentina) 13 M 11/18 Soyinka, Death and the King’s Horseman (Nigeria) W 11/20 Churchill, Cloud Nine (England) F 11/22 --- Third In-Class Mini-Exam 14 M 11/25 Production Day W 11/27 --- THanksgiving Holiday F 11/29 --- THanksgiving Holiday 15 M 12/2 Kushner, Angels in America (Part One) (USA) W 12/4 Kushner, Angels in America (Part One) (USA) F 12/6 Parks, The America Play (USA) 16 M 12/9 Parks, The America Play (USA) Last class day. Final Exam administered week of 12/9. Policies: Documented Disability Statement: The University of Texas at Austin provides upon request appropriate academic accommodations For qualiFied students with disabilities. For more inFormation, contact Services For Students with Disabilities at 471-6259 (voice) or 232-2937 (video phone), or visit http://www.utexas.edu/diversity/ddce/ssd. Honor Code: The core values of The University of Texas at Austin are learning, discovery, Freedom, leadership, individual opportunity, and responsibility. Each member of the university is expected to uphold these values through integrity, honesty, trust, Fairness, and respect toward peers and community. Academic Integrity: Any work submitted by a student in this course For academic credit will be the student's own work. For additional inFormation on Academic Integrity, see http://deanofstudents.utexas.edu/sjs/acadint.php. Religious Holy Days: By UT Austin policy, you must notiFy me oF a pending absence at least Fourteen days prior to the date oF observance oF a religious holy day. IF you must miss a class, an examination, a work assignment, or a project in order to observe a religious holy day, I will give you an opportunity to complete the missed work within a reasonable time aFter the absence. Class Attendance Policy: You are expected to attend all scheduled classes and sections and arrive on time. In the event you must miss a class, you can do so on 3 instances total without it aFFecting your Final grade (this includes lecture and section). These 3 missed classes do not need to be excused. Beyond these 3 classes, all absences must be excused. Reasons For excused absences include illness (with doctor’s note), team sports or approved activities, and Family emergencies. Any unexcused absences beyond the allowed 3 missed classes will lower your final class grade by 1/3 of a letter. (This does not include Religious Holy Days.) 3 Late Assignments Policy: Unless arrangements For an extension are made in advance with your TA due to extenuating circumstances, late papers or assignments will be marked down 1/3 oF a letter For every calendar day (not every class day) they are late. Missed Quizzes and Exams: Students who miss an in-section / in-class assignment or test during the regular semester For an excused absence (i.e., with a doctor’s note) will be able to make up that assignment or test during their TA’s office hours. Students with an unexcused absence will not be able to make-up missed quizzes or exams. Screens Policy: Please be aware that this class will be screens-free, both laptop and phone. Students will be expected to take hand-written notes unless special arrangements are made with the instructor. Students needing to use their phones during class time (for emergency purposes only) will be expected to leave the classroom to do so. Statements: This course carries the Global Cultures Flag. Global Cultures courses are designed to increase your Familiarity with cultural groups outside the United States. You should thereFore expect a substantial portion oF your grade to come From assignments covering the practices, belieFs, and histories oF at least one non-U.S. cultural group, past or present. English 316N may be used to FulFill the humanities component oF the university core curriculum and addresses the Following Four core objectives established by the Texas Higher Education Coordinating Board: communication skills, critical thinking skills, personal responsibility, and social responsibility. Each oF these matters will be covered throughout the course, with special attention paid to issues oF personal and social responsibility and questions of what these works communicate about the values and choices of diFFerent people and groups living in different social and historical contexts. Updates: Please be advised that elements oF this syllabus may be updated over the course oF the semester to better reFlect changing course needs. Revised syllabi will be posted on Canvas and an email notiFication will be sent to all students directing them to the revised document. Web Site: A Canvas site will be available For this course. 4 .
Load more

Recommended publications
  • 3 World Literature in a Poem the Case of Herberto Helder1
    3 World Literature in a Poem The Case of Herberto Helder1 Helena C. Buescu It is arguable that, if world literature is also a mode of reading, as David Damrosch states, there may be special cases in which the choice of works to be read and/or to be translated has to be accounted for as a poetic gesture towards a planetary literary awareness. In such instances, the sense of literary estrangement is part of the reading process, and the project of its non- domestication (perhaps a stronger way to draw on Lawrence Venuti’s notion of foreignization) is very much at the centre of the hermeneutical process. In what follows I will be dealing with an interesting case of translation (or some- thing akin to it), from the point of view of a poet. It is not only that it is a poet who translates poems by others. It is also, as we shall see, that he translates them as a poet, that is, as part of his own poetic stance. What is (and what isn’t) a literary translation? That is the question that lies at the heart of this endeavour. As we shall see, it is also a case in which, through translation, cultural diversity and provenance are transformed into a clearly distinguished work: translating is a mode of reading, but it is also a mode of shifting socio- logical and aesthetic functions and procedures. This is why we may be able to say that world literature is not solely a mode of reading, but a mode that deals with the constant invention of reading—by reshaping the centre and the peripheries of literary systems, and by thus proposing ever-changing forms of actually reading texts that seemed to have been already read.
    [Show full text]
  • Imagining Indian Literature: Towards a Historiography of Translation
    Imagining Indian Literature: Towards a Historiography of Translation MRINMOY PRAMANICK Research question what this paper tries to address is the role of translation in imagining nation and national literature in Indian context from a bhasha perspective. This paper argues that a partial history of literary translation can be proposed from the act of imagining national literature in a certain language. Research in this subject concerns on the history of literary translation by the government and non-government publishing houses, academic disciplines and academic activities like seminar, conferences, symposium, workshops etc. as the stepping stones for imagining nation through translation. This paper took quite a few examples of above mentioned literary activities to propose a history of translation as well as the history of Indian literature in a bhasha context. Keywords: Indian literature, nation, national literature, historiography, bangla translation, ecology of translation. ... the major modern Indian languages have developed not only through ‘vertical’ translations from the languages of power and knowledge - English and Sanskrit - but also by engaging in ‘horizontal’ translations of one another, ultimately contributing to the creation of an inherently pluralistic body of literature in India. (Translation as Growth: Towards a Theory of Language Development, Uday Narayan Singh). Imagining Indian Literature in Bangla can be traced back from 19th century with the translation of Indian literary texts from West Indian languages by Jyotindranath Tagore and also with the translation of Rabindranath Tagore’s translations of Indian poetry. This paper traced the history of translation and imagination of National literature from early 20th century as theoretically Indian Literature were assumed to be studied.
    [Show full text]
  • Course Outline
    University of the Incarnate Word UIW-Heidelberg ENGL 2310 WORLD LITERATURE STUDIES COURSE OUTLINE I. Logistics UIW-Heidelberg Study Center Physical Address: Heidelberg, Germany - Bergstrasse 106, 69121 II. Course Description Part of the UIW Core Curriculum, this course includes close reading and discussion of texts of all kinds from a wide range of periods and societies to reveal the diversity of literature as a means of cultural statement. This course is designed as a directed exploration of worldwide literary genres and techniques of close study that emphasizes the development of critical reading skills and methodologies of literary analysis, i.e. of what can be said well about a work of art. Close readings of the assigned literary works will help develop our appreciation of literature as finely crafted, multidimensional art. In addition, such readings allow us to examine the connections between literature and culture. In examining these connections, we explore the role of art and the artist in social justice, an important aspect of study at our university. III. Course Objective Having finished this course, students will have a refined background knowledge of world literature, beginning with Ancient Near Eastern texts and ending with 20m century literature. They will develop and practice active reading which gets the reader involved with texts and authors. They will be able to identify various critical approaches and methodologies. Students will develop the skills required to present ideas clearly and effectively about literature in oral and written forms, for instance through a well-crafted paper which conveys a strong thesis with textual backing, demonstrating their ability to do research.
    [Show full text]
  • World Literature
    TEAC HER GUIDANCE For teaching the Georgia Standards of Excellence (GSE) World Literature Reading Literary and Reading Informational For use with Grades 9-10 Writing, Speaking and Listening, and Language Guidance World Literature GSE Reading Literary (RL) ELAGSE9-10RL1: Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text. Skills/Concepts for Students: Practice attentive reading both in the classroom and independently Identify and analyze types of dramatic literature (i.e., classical tragedy and culturally specific forms such as Commedia dell’Arte) Think critically and analytically about text, making connections within a text and among texts, including texts from other cultures Demonstrate comprehension by identifying evidence such as diction, imagery, point of view, figurative language, symbolism, plot events, main ideas, and cultural characteristics in texts including poetry, prose, short stories and drama Recognize and identify literary elements for analysis such as language, style, character development, point of view, irony, and structures (i.e. chronological, in medias res, flashback, epistolary narrative, frame narrative) Make inferences based on textual evidence, including predictions, biases, and patterns, including motif Analyze the influence of mythic, traditional, or classical literature on works of world literature Support all claims with textual evidence, both in formal analysis and in discussion Take notes and annotate texts, both formally
    [Show full text]
  • The Makings of World Literature
    Sodertorn University | School of Culture and Education C-essay 15 ECTS | English | Spring 2014 The Makings of World Literature Approached in a Practical and Theoretical Way and from a Western Perspective By: Petra Nilsson Supervisor: Fredrik Tydal Abstract The term world literature was coined almost 200 years ago and 100 years later it developed into a discipline within literary studies. This essay investigates several scholars’ ideas and suggested theories about the field, mainly from a European and North American perspective. World literature’s origin, development, and modern conceptions are presented and described. By passing on relevant information, the reader is given an overall understanding of world literature. One conclusion is that, although scholars sometimes disagree, there is an aim, and a possibility for a unanimous definition and approach of the discipline. Another conclusion is that assimilation of world literature can evoke respect and acceptance towards all people and all cultures, due to its all-inclusive, humanistic, and global essence. One finding from the analysis is that world literature is closely linked to globalization and other major changes in society. Another finding is that the field is defined by what is written, how it is read, and interpreted. It is also defined by what is included or excluded. There are some works that, due to high quality or local appreciation, belong in world literature’s sphere but, for various reasons, do not. Further finding shows that contributions circulate in multiple directions, often crossing over culture, language, and nation borders. World literature evolves and changes, sometimes because of readers’ choice and subjective value or disvalue of works which, as a consequence, form a discipline with variable characteristics.
    [Show full text]
  • World Literature I: Beginnings to 1650 Is Licensed Under a Creative Commons Attribution-Sharealike 4.0 International License
    Part Three The Renaissance WORLD LITERATURE I Beginnings to 1650 LAURA GETTY, PHD RHONDA KELLEY, PHD KYOUNGHYE KWON, PHD DOUGLASS THOMSON, PHD WORLD LITERATURE I Beginnings to 1650 Part Three The Renaissance LAURA GETTY, PHD RHONDA KELLEY, PHDKYOUNGHYE KWON, PHDDOUGLASS THOMSON, PHD Dahlonega, GA World Literature I: Beginnings to 1650 is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. Parts of this title have been reproduced from Compact Anthology of World Literature edited by Laura Getty and Kyounghye Kwon in accordance to its CC BY-NC-SA 4.0 license. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorporated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. To determine copyright status of any content please refer to the bibliographies and appendices for original source information to further research specific copyright licenses. Image Disclaimer: All images and figures in this book are believed to be (after a reasonable in- vestigation) either public domain or carry a compatible Creative Commons license.
    [Show full text]
  • Course Syllabus: Masterpieces of World Literature
    Course Syllabus: Masterpieces of World Literature Course Information LIT 2331-001: Masterpieces of World Literature Term: Fall 2006 Time: Saturdays 9:30am-12:15pm Location: JO 4.102 Website for announcements: www.utdallas.edu/~terje Course handouts, additional essays on WebCT: http://webct.utdallas.edu Professor Contact Information Terje Saar-Hambazaza Email: [email protected] Phone: 972-883-2713 Office: JO 4.134 Office hours: Saturdays 8:30am-9:30am and by appointment Course Pre-requisites, Co-requisites, and/or Other Restrictions No pre-requisites Course Description This course focuses on a number of world masterpieces of literature that deal with different aspects of human identity throughout history. We will examine major texts from different periods between the seventeenth and the twentieth century and discuss works from different genres including fiction, poetry, and drama. We will also consider the meaning and definition of a “masterpiece.” What is a masterpiece? What makes a masterpiece? Who determines what is called a masterpiece? How has the “reading” of various masterpieces changed over times? What is the role of a reader or a critic? What can we learn about the history of mankind and the transformation of human identity from these selected texts? How do these texts answer questions such as Who are we? What is a human being? How do we relate to society? These are only a few questions that we will encounter during the semester. In addition to primary works of literature, we will also read several contemporary and modern critical essays written on each text and view a film version of a literary masterpiece.
    [Show full text]
  • Modern Iranian Literature: the Historical and Present Development of the Short Story Genre
    Journal of Literature and Art Studies, July 2016, Vol. 6, No. 7, 775-784 doi: 10.17265/2159-5836/2016.07.008 D DAVID PUBLISHING Modern Iranian Literature: The Historical and Present Development of the Short Story Genre Oydin Turdiyeva Tashkent State Institute of Oriental Studies, Tashkent, Uzbekistan The following article is about the historical overview of the Persian literature and the emergence and development of the short story as a literary genre and its prominent role in the modern literature of Iran. It discusses the origin of the short story in general and preconditions for the popularity of the new genre the Iranian literature of the 20th century, and also about the first successful collection of short stories that introduced it to the public. Also the development process of the short story and principle factors in every stage of its emergence as an independent genre of prose, as well as the thematic range are the main aspects among others to be analyzed in the article. It is historically documented that the Islamic state was established in 1979 after the fall of the Shah. And the very event had big impact not only on the social and political life of the country, but also on the cultural and literary life of the Iranians of the time. The significance of the revolution was such that it divided the literature to be known as the “pre-revolution” and “post-revolution” periods. Therefore this article is aimed to observe how this historic event had influenced the short story in particular and the distinct features of the works created during the two periods.
    [Show full text]
  • David Damrosch, What Is World Literature? Princeton & Oxford: Oxford University Press, 2003
    Reviews 128 DOI: 10.2478/abcsj-2019-0009 American, British and Canadian Studies, Volume 32, June 2019 David Damrosch, What Is World Literature? Princeton & Oxford: Oxford University Press, 2003. (£18.95 Hb.). Pp 324. ISBN 9780691049861. Eminent professor at Harvard University, David Damrosch resumed, in his 2003 study What Is World Literature? , a problem that was first raised by Goethe: the problem of world literature. According to Damrosch, at the beginning of the twenty-first century, the problem can be formulated in the following terms: “Which literature, whose world? What relation to the national literatures whose production continued unabated even after Goethe announced their obsolescence? What new relations between Western Europe and the rest of the globe, between antiquity and modernity, between the nascent mass culture and elite production?” (1). Damrosch traces the evolution of this literary discipline, preparing the reader for a new intersectional approach: “the foreign reader is likely to impose domestic literary values on the foreign work” (4). The quest for this new approach begins with a refusal of the old denomination of “universal literature”. In its wide pretended meaning, “universal literature” does not exist. In fact, “the ‘universal’ is only a cover for an unconscious process of assimilation to one’s own prior values” (138). Enjoying worldwide reception involves being subject to certain disquieting transformative operations. “All works are subject to manipulation and even deformation in their foreign reception” (24). The arguments brought by Damrosch are compelling. World literature should not be regarded only from the centres of power (of both the literary and the real world), but also from the margins.
    [Show full text]
  • Understanding Satire
    english language arts “You’ve Got to Be Kidding”: Grade10 Understanding Satire UNIVERSITY OF PITTSBURGH 3 Unit Licensing We have chosen to make these materials easily available and reproducible for the benefit of teachers and their students. In exchange, we ask you honor the hard work that goes into developing them. Please read the following licensing agreement carefully. By printing, copying, or using any of the files or components composed in this unit you or the entity you represent (collectively “You”) agree that this Agreement is enforceable like any written contract signed by You. If You do not agree to the forgoing, IFL does not authorize You to print, copy, or use the materials. Title, ownership rights, and intellectual property rights of the IFL MATERIALS shall remain with the University of Pittsburgh (UNIVERSITY). The IFL grants You a non-exclusive license to: • Make copies of the IFL MATERIALS for each teacher, educator, or school in your school district, provided that you have paid for those materials to use for the sole purpose of teacher professional development and/or course implementation. You may not: • Redistribute, post, or otherwise enable or permit other individuals to access or use the IFL MATERIALS except under the terms listed herein; • Modify, translate, or create derivative works based on the IFL MATERIALS; • Copy the IFL MATERIALS other than as specified above; • Rent, lease, grant a security interest in, or otherwise transfer rights to the IFL MATERIALS; or • Remove any proprietary notices or labels on the IFL MATERIALS. DISCLAIMER OF WARRANTY: The IFL MATERIALS are provided “as is.” The UNIVERSITY does not warrant the IFL MATERIALS will meet Your requirements, operate without interruption, or be error free.
    [Show full text]
  • Jwl: from Persian to World Literature
    Journal of World Literature 1 (2016) 8–15 brill.com/jwl jwl: From Persian to World Literature Omid Azadibougar University of Göttingen [email protected] Esmaeil Haddadian-Moghaddam University of Leuven [email protected] World Literature is a promising but also hotly debated concept: there is ris- ing interest on various fronts, and its promise as a way out of Eurocentrism and national parochialism brings hope to the world’s less commonly studied literatures. However, at the same time it has come under fire for being cul- turally ungrounded and linguistically shallow, reliant only on translation and some kind of vague American multiculturalism. Is World Literature a dead-end concept? Or is it possible to conceive an idea of World Literature that couples its promises with adequate solutions to proposed linguistic and cultural lim- its? The Journal of World Literature aspires to lead this discussion and explore the possibilities, presenting works that advance new and creative engagements with local, regional, and global contexts, with original languages as well as translations, in order to contribute to a lively debate from contextual perspec- tives. Addressing critiques of World Literature, it is fitting to begin with an exam- ple from a context where the issue of compatibility between cultures has been a major and unresolved question for a long time. During the last decades of the twentieth century, intense discussions regarding national culture domi- nated Iranian intellectual life. These discussions sought ways of reconciling Iranian traditions with the demands of the religious state, on the one hand, and addressed problems of compatibility between modern Western cultural tech- nologies and conceived national identity, on the other.
    [Show full text]
  • World Literature, Indianviews, 1920S–1940S
    Journal of World Literature 4 (2019) 56–81 brill.com/jwl World Literature, Indian Views, 1920s–1940s Francesca Orsini SOAS University of London [email protected] Abstract “For any given observer,” David Damrosch argued in What is World Literature?, “even a genuinely global perspective remains a perspective from somewhere, and global pat- terns of the circulation of world literature take shape in their local manifestations.” Within world-system approaches that fix centres, peripheries and semiperipheries, or with approaches that consider world literature only that which circulates transnation- ally or “globally,” the relativizing import of this important insight remains inert or gets forgotten. As Indian editors and writers in the early decades of the twentieth century undertook more translations of foreign works and discussed the relationship between India and the world, overlapping understandings of world literature emerged in the Indian literary field. This essay explores three different visions of world literature from the same region and period but in different languages – English, Hindi, and Urdu – highlighting their different impulses, contexts, approaches, and outcomes in order to refine our notion of location. And whereas much of the recent debate and activi- ties around world literature has revolved around the curriculum or around publishers’ series and anthologies, in the Indian case exposure to and discussion of literature from other parts of the world took largely place in the pages of periodicals. Keywords world literature – location – India – Hindi – Urdu – English – periodical 1 Located Views “For any given observer,” David Damrosch argued in What is World Literature?, “even a genuinely global perspective remains a perspective from somewhere, and global patterns of the circulation of world literature take shape in their © francesca orsini, 2019 | doi:10.1163/24056480-00401002 This is an open access article distributed under the terms of the prevailing CC-BY-NC-ND license at the time of publication.
    [Show full text]